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  • Elvis Is Back! (Speakers Corner) Elvis Is Back! (Speakers Corner) Quick View

    $34.99
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    Elvis Is Back! (Speakers Corner)

    During the King's artistically unproductive period of military service, no costs or efforts were spared (e.g. A Date With Elvis, RCA LPM-2011), and no consolatory promises of things to come were left unsaid by the management in order to keep Elvis alive and well in the minds of his vast circle of fans. At last the great coup was landed: Elvis Is Back was what everyone was waiting to hear and American radio and television broadcasting stations made a gigantic medial feast of it.



    With the ink scarcely dry on his demobilization papers, Elvis entered the studio in March 1960 and recorded a whole series of numbers which later became worldwide hits, such as Are You Lonesome Tonight and It's Now Or Never. Released as singles, these tender ballads created a sensation, while the LP with numbers such as Dirty, Dirty Feeling, Like A Baby and The Thrill Of Your Love underlined Elvis's enhanced qualities as a rock, blues and gospel singer. That his voice - despite everyone's fears - had lost nothing of its erotic thrill is more than amply demonstrated in his rendering of Fever alone, which is accompanied merely by bass and percussion.



    With its amazing array of varying styles, this must surely be one of Elvis's most genial albums and was unrivaled right up until his great comeback in 1968 (From Elvis In Memphis, RCA LSP-4155).





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Floyd Cramer(piano)

    • Scotty Moore (guitar)

    • Boots Randolph (saxophone)

    • Hank Garland (bass, guitar)

    • Charlie Hodge (harmony)

    • Bob Moore (bass)

    • D.J. Fontana (drums)

    • Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker (vocal)




    March 1960 at RCA Studios, Hollywood, CA. and April 1960 in Nashville, TS., USA,
    by Bill Porter

    Production: Chet Atkins





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby

    12. Reconsider Baby
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis Is Back! (Pre-Order) Elvis Is Back! (Pre-Order) Quick View

    $32.99
    Buy Now
    x

    Elvis Is Back! (Pre-Order)

    40 Years Later..... The King Of Rock And Roll Lives On!

    Friday Music Is Proud To Present His 1959 Rock & Rhythm & Blues Masterpiece Elvis Is Back

    First Time 180 Gram Translucent Blue Vinyl & Original Gatefold Cover Art & Original Front Cover Sticker Art

    Mastered Impeccably By Joe Reagoso & Pressed At R.T.I.

    Features His Classic Hits: Such A Night, Fever, Make Me Know It, The Girl Of My Best Friend, Reconsider Baby, Soldier Boy

    Elvis Is Back! is the tenth studio album by American singer and musician Elvis Presley. It was originally released on RCA Victor Records in April 1960. Recorded over two sessions in March and April, the album marked Presley's return to recording after his discharge from the U.S. Army.

    In 1957, as Presley's fame was soaring, he received a draft notice from the Memphis Draft Board, but was given a deferment so he could finish his latest film production, King Creole. During Presley's two-year military service in Germany, RCA Victor and Paramount Pictures progressively released material he had completed prior to enlistment. During his last months in the Army, Presley experimented with new sounds and worked on further improving his performance. He also prepared material for his first session in Nashville, which was scheduled to take place upon his return. Presley returned to the United States on March 2, 1960. The singer reunited with his original band The Blue Moon Boys, excepting bassist Bill Black. The first session was held on March 20-21 and the second session was held on April 3-4, completing the album.

    Elvis Is Back! topped the UK Albums Chart and reached number two in Billboard's Top LPs. Initially, the release received mixed reviews, but over subsequent years its critical reception became progressively more positive. The album was certified Gold by the Recording Industry Association of America in 1999.

    1. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby
    12. Reconsider Baby
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP PRE-ORDER Buy Now
  • Elvis Is Back! Elvis Is Back! Quick View

    $54.99
    Buy Now
    x

    Elvis Is Back!

    The ultra-hyped, hugely celebrated return of the King most certainly did not disappoint. During his military service, Elvis fans waited anxiously for new material. Record label executives worried about whether he'd still be able to crank out the hits. Radio stations were dying for something new for their most requested playlist. It all combined to mount tremendous pressure on Elvis and all involved to deliver something that lived up to expectations. As it turned out, it was worthy of a giant yellow exclamation point on the front cover! Almost immediately after his service time had ended, Elvis entered the studio in March 1960 to record a batch of songs that would go on to become monumental worldwide hits. The singles Are You Lonesome Tonight and It's Now Or Never created a tidal wave of excitement. And the LP tracks like Fever, The Thrill Of Your Love, Dirty, Dirty Feeling and Like A Baby confirmed that the King was still able to deliver a whole program worth of incomparable material. Listen to Fever at 45 RPM if you want to show someone what this hobby of yours is all about. Just vocals, bass and finger-snapping, it sounds so dark and haunting. It's worth the price of admission for just this one track alone.


    Mastered By George Marino at Sterling Sound.


    This title is not eligible for discount.

    1. Make Me Know
    2. Fever
    3. The Girl of My Best Friend
    4. I Will Be Home Again
    5. Dirty, Dirty Feeling
    6. The Thrill of Your Love
    7. Soldier Boy
    8. Such a Night
    9. It Feels So Right
    10. The Girl Next Door
    11. Like a Baby
    12. Reconsider Baby
    Elvis Presley
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Elvis' Golden Records No. 1 (Speakers Corner) Elvis' Golden Records No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis' Golden Records No. 1 (Speakers Corner)

    Have we got the lot? The King of Rock'n'Roll certainly didn't need to ask whether his entourage had collected together all their favourite hits. They had gathered them all together - a collection of Golden Records, rather like a selection box of favourite chocolates, greedily swallowed down and enjoyed to the full. And how they loved them all - whether 'complete works' collectors or fans. To this very day, this collection from 1958 is quite set apart from the normal 'best of' collections. It shines out like a precious jewel among mere pebbles. This was the first of four Gold volumes, and it set the standard for those to come. Before any of the immemorable songs came to be included, they had to have sold at least a million copies and won an undeniable and unforgettable reputation as a heart-string plucker. To name a title is more than superfluous. It's quite enough just to listen and enjoy. Whoever wants the ultimate basic Elvis collection can't go wrong here.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: January 1956 - September 1957 in Hollywood, New York and Nashville in mono

    Production: Steve Sholes


    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Hound Dog
    2. Loving You
    3. All Shook Up
    4. Heartbreak Hotel
    5. Jailhouse Rock
    6. Love Me
    7. Too Much
    8. Don't Be Cruel
    9. That's When Your Heartaches Begin
    10. (Let Me Be Your) Teddy Bear
    11. Love Me Tender
    12. Treat Me Nice
    13. Anyway You Want Me (That's How I Will Be)
    14. I Want You, I Need You, I Love You
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono - Sealed Buy Now
  • Stereo '57: Essential Elvis Vol. 2 Stereo '57: Essential Elvis Vol. 2 Quick View

    $54.99
    Buy Now
    x

    Stereo '57: Essential Elvis Vol. 2

    Double LP set cut at 45 RPM and pressed on 200-gram vinyl at Quality Record Pressings!


    Mastered at Sterling Sound


    Gatefold jacket


    The discovery of these 2-track masters comprising Stereo '57 - The Essential Elvis Volume 2, is nothing short of a miracle, and this 200-gram pressing cut at 45 RPM from Quality Record Pressings sounds so astonishing, your jaw will hit the floor!


    From the moment Elvis began working with a new song, sound engineer Thorne Norgar had the 15 ips mono tape machine rolling simultaneously with a 2-track protection copy. The machines weren't switched to pause until Elvis was satisfied with the take.


    A couple of years before the advent of the stereo LP in mid-1958, major record companies were experimenting with stereophonic recordings, often refered to then as binaural. Studios were using the new Ampex 2-track tape recorders for other purposes, such as for recording session back-ups. But few Elvis fans know how close history came to permanently losing these precious audio glimpses of a young Elvis engrossed in the creative process.


    Founded in 1933, Radio Recorders of Los Angeles was the preeminent recording studio of its day, and its director of recording, long-time engineer Thorne Nogar, engineered all of the Elvis sessions from 1955 to 1961. Some of popular music's greatest hits: Jailhouse Rock, All Shook Up, Loving You, and Teddy Bear, are just a few of the blockbusters that Nogar oversaw Elvis record at the studios, located at 7000 Santa Monica Blvd.


    Elvis would be right in the center of everything, at every recording session, Nogar would later recall. Like with the Jordanaires when he sang, we would set it up with a unidirectional mike, so he would be standing right in front of them, facing them, and they would have their own directional microphone and they would be singing to one another.


    The 2-tracks from which this record was pressed could not have sounded better, and there was no one more careful, more experienced and technically skilled to record these historic sessions than Nogar, says Acoustic Sounds' founder and CEO Chad Kassem.


    Yet one day years later when Thorne was cleaning out his tapes closet, remarkably, he set these 2-track backup tapes aside, intending to dispose of them. Noted producer Bones Howe had worked for Nogar as a tape operator at Radio Recorders, and thanks to him the tapes were saved from a final resting place in the trash can. Bones took the tapes home with him. He'd put them safely away in a bank vault.


    These 2-tracks have erase clearly written on the master log sheets. They're from a January 1957 session at which Presley produced material for two EPs and the film Loving You soundtrack. They're the only known ones surviving from the pre-stereo era.


    RCA's Essential Elvis series was a vehicle for the release of Presley's alternate takes. On this double LP set, listeners hear Presley at work, refining band arrangements and working through the nuances of his vocal performance. The LP reveals the Jordanaires voices' sparkling with a natural lifelike sound that's both sonically rich and detailed.


    The Jordanaires, a vocal quartet originally formed as a gospel group in 1948, gained fame largely for being Elvis' background singers, both in live appearances and recordings, from 1956 to 1972. If discovering these rare, almost lost recorded treasures weren't enough, the sound reproduction puts this release over the top! When the Jordanaires sing Peace in the Valley, you'll swear you're hearing a melody sent from heaven. An audiophile's prayer come true!


    There are a number of first and second takes, during which Presley and his backing musicians make tentative passes at the material. As the record progresses, arrangements take shape and Presley, growing more confident that a keeper take is imminent, sings with more enthusiasm. Throughout, Presley is heard directing the proceedings and demonstrating a lot of aw shucks charm in the process, goofing with band members and laughing through his and others', flubs.



    Like other reissues pressed by QRP, this magnificent 200-gram LP is notable for its absolutely silent background. The vocal harmonies are tingle-inducing, life-sized and utterly natural.


    For serious Elvis fans and anyone else interested in the creative process, Volume 2 meets the first definition of essential as well as the second: it's indispensable stuff.


    This title is not eligible for discount.

    1. I Beg Of You (Take 1)
    2. Is It So Strange (Take 1)
    3. Have I Told You Lately That I Love (Take 2)
    4. It Is No Secret (What God Can Do) (Takes 1,2,3)
    5. Blueberry Hill (Take 2)
    6. Mean Woman Blues (Take 14)
    7. There'll Be Peace In The Valley (Takes 2,3)
    8. Have I Told You Lately I Love You (Take 6)
    9. Blueberry Hill (Take 7)
    10. That's When Your Heartaches Begin (Takes 4,5,6)
    11. Is It So Strange (Takes 7,11)
    12. I Beg Of You (Takes 6,8)
    13. There'll Be Peace In The Valley (Take 7)
    14. Have I Told You Lately That I Love You (Takes 12,13)
    15. I Beg Of You (Take 12)
    Elvis Presley
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Back To The Blues (Pure Pleasure) Back To The Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Back To The Blues (Pure Pleasure)

    Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death.


    The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute Nobody Knows The Way I Feel This Morning that is unique in her discography.

    Musicians:



    • Dinah Washington (vocals)
    • Illinois Jacquet, Eddie Chamblee (tenor saxophone)
    • Jack Wilson, Patti Bown (piano)
    • Jimmy Sigler (organ)
    • Everett Barksdale, Billy Butler (guitar)
    • George Duvivier (bass)
    • Jimmy Thomas, Osie Johnson (drums)



    Recording: March - November 1962 at Bell Sound Studios, New York

    Production: Henry Glover


    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. The Blues Ain't Nothin' But A Woman Cryin' For Her Man
    2. Romance In The Dark
    3. You've Been A Good Old Wagon
    4. Let Me Be The First To Know
    5. How Long, How Long Blues
    6. Don't Come Running Back To Me
    7. It's A Mean Old Man's World
    8. Key To The Highway
    9. If I Never Get To Heaven
    10. Duck Before You Drown
    11. No Hard Feelings
    12. Nobody Knows The Way I Feel This Morning
    Dinah Washington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis-NBC TV Special Elvis-NBC TV Special Quick View

    $31.99
    Buy Now
    x

    Elvis-NBC TV Special


    The Elvis Presley/Friday Music 180 Gram Audiophile Vinyl Series Continues!


    Celebrating The 45th Anniversary Of The NBC TV Special "1968 Comeback" Soundtrack Album!


    First Time 180 Gram Vinyl & Gatefold Cover Presentation


    Mastered Impeccably By Joe Reagoso At Friday Music Studios And Manufactured At R.T.I.


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as
    a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys.
    The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the
    legend to a long-term deal, and his first RCA single Heartbreak Hotel forever etched "The King of Rock and Roll" trademark to his name.


    Over the next three decades, Elvis Presley would release dozens of hit albums and tons of smash singles, spend time in the Army, star in over 35
    top charting films, as well as sell out concert tours around the states and Canada making him the most successful solo artist of all time. In 1968, after a
    series of very successful movies and top charting recordings, Elvis made a wise decision to work with the folks at NBC and develop a Christmas TV special,
    which would have The King perform in front of a live studio audience for the first time in years.
    This legendary career move spread like wildfire and soon was hailed as "The Comeback," further igniting his career to an all new high. The King
    took his shows to the theatres and casinos and super massive stadium tours over the next number of years, while releasing a plethora of even more gold
    and platinum recordings


    With the soundtrack album nearing release, it was already gaining popularity in advance thanks to the chart single smash If I Can Dream. This
    masterwork album included a treasure trove of rare television studio performances that captured a very great time in the musical history of this genius.
    In addition to the wonderful hit single aforementioned, The King reaches back to his early Memphis days with his first chart topper Heartbreak
    Hotel and more fifties classics like Lawdy Miss Clawdy, All Shook Up and even a pair of Jimmy Reed blues classics with Big Boss Man and Baby, What
    You Want Me to Do.


    Even more hit tracks and sensational medleys featuring Elvis classics abound including Guitar Man, Blue Christmas, Love Me Tender and Can't
    Help Falling in Love. Plus the beautiful ballad Memories is also included which has since become an Elvis fan favorite thanks to the wonderful production
    on this brilliant album.
    Elvis Presley's TV Special album would go on to become one of his biggest albums ever, as fans rushed to the stores to buy this stunning rock and
    roll soundtrack back in December of 1968. Initially pressed on vinyl, this amazing album has been out of print on vinyl for several decades that is until
    now!


    In honor of the Man, the Music, the Legend, the King of Rock and Roll, Friday Music is very proud and honored to announce the 45th Anniversary
    Limited Edition 180 Gram Audiophile Vinyl release of the RCA Records classic Elvis - TV Special by Elvis Presley.
    As we further continue our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its high fidelity
    glory. Mastered impeccably by Joe Reagoso at Friday Music Studios and manufactured at R.T.I., Elvis - TV Special will be a much anticipated audiophile
    vinyl dream release for Elvis fans everywhere this holiday season.


    For this exclusive 45th Anniversary Edition, we are including a first time beautifully pressed 180 Gram vinyl LP and limited gatefold album artwork
    which includes the original stunning LP cover graphics. We are also enclosing a poly lined inner sleeve to help keep your limited edition Elvis - TV Special
    vinyl album in mint shape.


    Elvis Presley's Elvis - TV Special A history making album from an historic legend, a soundtrack essential first time 180 Gram Audiophile
    vinyl is now an audiophile vinyl dream come true From your friends at Friday Music Stay tuned for more Elvis Presley original RCA Records audiophile
    recordings from Friday Music. Memories

    1. Trouble/Guitar Man
    2. Lawdy, Miss Clawdy/Baby, What You Want Me to Do
    3. Medley: Heartbreak Hotel/Hound Dog/All Shook Up/Can't Help Falling in Love/Jailhouse Rock/Love Me Tender
    4. Where Could I Go But to the Lord/Up Above My Head/Saved
    5. Blue Christmas/One Night
    6. Memories
    7. Medley: Nothingville/Dialogue/Big Boss Man/Guitar Man/Little Egypt/Trouble/Guitar Man
    8. If I Can Dream
    Elvis Presley
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • For LP Fans Only (Speakers Corner) For LP Fans Only (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    For LP Fans Only (Speakers Corner)

    Along with the album A Date With Elvis (RCA LPM-2011), For LP Fans Only is one of the most important special productions of the young King of Rock'n'Roll. Because Elvis had been conscripted into the US army, no new recordings could take place, and so record producers delved deep into the sound archives and dug out a few singles from his Sun Records days, mixed them with a couple of early RCA songs and a number from the Love Me Tender soundtrack, and, hey presto! a new Elvis LP was born. The overwhelming success of this album is not solely confined to the stylistic homogeneity of this collection of fresh, youthful songs. Far more, it's because for many fans the record offered the only substitution for the highly coveted but rare original singles That's All Right, Mystery Train and My Baby Left Me.



    Not without reason has today's 'bits-and-bytes' generation ignored the words on the cover and produced several re-releases. Which just goes to emphasise the widespread opinion that this is one of Elvis's very best albums and at the same time one of the most important in the whole of rock'n'roll - especially in the present vinyl pressing.





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Various Bands







    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. That's All Right

    2. Lawdy, Miss Clawdy

    3. Mystery Train

    4. Playing For Keeps

    5. Poor Boy

    6. My Baby Left Me

    7. I Was The One

    8. Shake, Rattle And Roll

    9. I'm Left, You're Right, She's Gone

    10. You're A Heartbreaker
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • From Elvis In Memphis From Elvis In Memphis Quick View

    $29.99
    Buy Now
    x

    From Elvis In Memphis

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The Elvis Presley/Friday Music 180 Gram Audiophile Vinyl Series Continues!

    Mastered by Joe Reagoso and Kevin Gray from the Original RCA Records Tapes/Manufactured at RTI


    Elvis' Groundbreaking Comeback Album!



    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early '50s, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick-start the beginnings of a soon to be worldwide superstar unlike the world has ever known!


    The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single "Heartbreak Hotel" forever etched 'The King Of Rock And Roll' trademark to his name. For the remainder of the 1950's into the mid-60's, Elvis Presley would release several dozen more hit albums and smash singles, spend time in the Army, star in a plethora of top charting films, as well as sell out concert tours around the states and Canada making him the most successful solo artist of all time.


    As the turbulent '60s roared on, styles of music would change and rock and roll was becoming more infused with psychedelic and harder rock elements. Elvis wasn't a follower by any means, so he got back to his roots and began another chapter of his career which many have called The Elvis "Comeback" era. First witnessed on his impeccable Elvis television program on NBC-TV in 1968, a new and exciting rock superstar was truly back to reclaim his crown.


    Thanks to his chart topping smash recording of "In The Ghetto," this southern fried deep soul sounding Elvis Presley was just what the fans were screaming for and soon enough an entire album was built around this great new sound entitled From Elvis In Memphis. The 1969 album also was a blockbuster as it topped the upper rungs of the pop and country charts, making this one of his biggest albums of his career as well as one of his most revered. From Elvis In Memphis truly proved once again that his career was unlike any other in music history.


    Produced by Chips Moman, the From Elvis In Memphis album takes off with the two soul stirring rockers "Wearin' That Loved On Look" and the Jerry Butler Philly groove of "Only The Strong Survive." More Elvis favorites follow with the country ballad "Long Black Limousine" and the rockin' interpretation of Hank Snow's classic "I'm Movin' On." The album also features a nice helping of solid interpretations of Elvis' own favorites like Burt Bacharach's classic "Any Day Now," the timeless "Gentle On My Mind" by John Hartford, and of course the heartfelt Mac Davis composition "In The Ghetto." In total, the album showcases twelve important Elvis Presley recordings which have truly gone onto become definitive classics by any measure of popular music.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the limited edition 180g audiophile vinyl release of the RCA Victor classic From Elvis In Memphis by Elvis Presley. As a third installment in their exciting Elvis Presley 180 Gram Audiophile Vinyl Series, Friday presents this masterwork in all its high fidelity glory. Mastered impeccably from the original stereophonic RCA Victor Records tapes by Joe Reagoso at Friday Music Studios with Kevin Gray and manufactured at R.T.I., From Elvis In Memphis will be a much anticipated audiophile dream release for Elvis fans everywhere!


    For this exclusive presentation, Friday is also including for the first time ever gatefold artwork which includes the groundbreaking original LP cover elements as well as more rare visuals from this historic Elvis Presley era. They are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Elvis vinyl in mint shape.


    Musicians:

    - Elvis Presley (vocals, guitar, piano)

    - Tommy Cogbill (bass)

    - Bobby Emmons (organ)

    - Mike Leech (bass)

    - The Memphis Horns

    - Ronnie Milsap (piano)

    - Bobby Wood (piano)

    - Reggie Young (guitar)

    1. Wearin' That Loved On Look
    2. Only The Strong Survive
    3. I'll Hold You In My Heart (Till I Can Hold You In My Arms)
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin' On
    7. Power Of My Love
    8. Gentle On My Mind
    9. After Loving You
    10. True Love Travels On A Gravel Road
    11. Any Day Now
    12. In The Ghetto
    Elvis Presley
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Elvis' Christmas Album (Speakers Corner) Elvis' Christmas Album (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis' Christmas Album (Speakers Corner)

    Wild rock'n'roll and Christian spirituality at Christmastide are impossible to bring together musically, one might think. But Elvis, who in the Fifties was climbing as steadily up the ladder of success as Father Christmas coursed the sky in his sleigh, certainly pulled off this feat in his Christmas Album with its mixture of popular Christmas songs and seasonal evergreens. The 'King' delivers a rocking version of Santa Claus Is Back In Town just as successfully as Peace In The Valley, an inspirational gospel song praising nature. Of course it goes without saying that White Christmas - the most-recorded Christmas hit, which in the Bing Crosby version alone achieved sales of 35 million - is included on the album. And Elvis's sentimental interpretation of Silent Night may well have made its contribution to the immortality of the former truck driver from Tennessee. Back on this earth the original LP exchanges hands for around US$ 500 when the gift tag is still attached. And because it's Christmas, the coveted sticker can be found on the re-release.



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Santa Claus Is Back In Town
    2. White Christmas
    3. Here Comes Santa Claus (Right Down Santa Claus Lane)
    4. I'll Be Home For Christmas
    5. Blue Christmas
    6. Santa Bring My Baby Back (To Me)
    7. O Little Town Of Bethlehem
    8. Silent Night
    9. (There'll Be) Peace in the Valley (For Me)
    10. I Believe
    11. Take My Hand, Precious Lord
    12. It Is No Secret (What God Can Do)
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Elvis' Christmas Album (White Vinyl) Elvis' Christmas Album (White Vinyl) Quick View

    $32.99
    Buy Now
    x

    Elvis' Christmas Album (White Vinyl)

    Another Excellent Installment In Our Exciting Elvis Presley 180 Gram Audiophile Vinyl Series


    Limited Edition 180 Gram Audiophile White Vinyl Anniversary Release


    Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.


    Original Gatefold Artwork


    Includes Super Rare LP Booklet With The Classic 1957 Images From His Historic Jailhouse Rock Film


    Elvis Aaron Presley was born during the Great Depression into a poor family in Mississippi. They moved to Memphis during the early fifties, and as a struggling young truck driver, he cut some demos at Sun Studios as a gift for his beloved mother Gladys. These initial songs, of which he had only paid a few dollars to record, would become the catalyst that would kick start the beginnings of a soon to be worldwide superstar unlike the world has ever known.


    The folks at RCA Victor knew that this young fellow named Elvis was destined for superstardom. They quickly bought out his contract and signed the legend to a long-term deal, and his first RCA single Heartbreak Hotel forever etched "The King Of Rock And Roll" trademark to his name.


    From the remainder of the 1950's, Elvis would release several more hit albums and number one singles, star in a couple of box office smash films, and prior to spending time in the Army, he recorded his fourth album and what would become one of the most memorable and best loved Christmas LP's of all time, Elvis' Christmas Album.


    The 1957 album was a blockbuster as it topped the pop charts for a month, making this one of the biggest albums of his career ultimately selling over 13 Million Units and his first Diamond Award Winning RIAA certified recording. Elvis' Christmas Album truly proved once again that his career was unlike any other in music history.


    This holiday classic takes off with the rockin' Santa Claus Is Back In Town and followed by the soulful groove of White Christmas. More Elvis favorites follow with his brilliant interpretation of the melancholy ballad I'll Be Home For Christmas and the blues rocker number one single smash Blue Christmas.


    The album also features a nice helping of gospel standards which Elvis made his own with favorites like (There'll Be) Peace In The Valley and It Is No Secret (What God Can Do) , the timeless Silent Night , and of course the heartfelt O Little Town Of Bethlehem . In total, the album showcases twelve important Elvis Presley recordings which have truly gone on to become definitive classics by any measure of popular music.


    In honor of the Man, the Music, the Legend, the King Of Rock And Roll, Friday Music is very proud and honored to announce the limited edition 180 Gram Audiophile White Vinyl Anniversary release of the RCA Victor holiday classic Elvis' Christmas Album by Elvis Presley. As another excellent installment in our exciting Elvis Presley 180 Gram Audiophile Vinyl Series, we are pleased to present this masterwork in all its high fidelity glory.


    Mastered impeccably by Joe Reagoso and manufactured at R.T.I., Elvis' Christmas Album will be a much anticipated audiophile dream release for Elvis fans everywhere! For this limited edition exclusive presentation, we are also including for the first time in decades, the original gatefold artwork which includes the groundbreaking original gatefold LP cover elements as well a super rare LP booklet with the classic 1957 images from his historic Jailhouse Rock film.


    We are also enclosing a poly bag to protect your album cover and poly lined inner sleeve to help keep your Elvis vinyl in mint shape. Elvis Presley's Elvis' Christmas Album A history making holiday album from a historic legend, an original monophonic audiophile dream release. artwork not seen in years is now an audiophile vinyl dream come true From your friends at Friday Music

    1. Santa Claus Is Back In Town
    2. White Christmas
    3. Here Come Santa Claus
    4. I'll Be Home For Christmas
    5. Blue Christmas
    6. Santa Bring My Baby Back
    7. O Little Town Of Bethlehem
    8. Silent Night
    9. (There Will Be) Peace In The Valley
    10. I Believe
    11. Take My Hand, Precious Lord
    12. It Is No Secret (What God Can Do)
    Elvis Presley
    $32.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • A Date With Elvis (Mono) (Speakers Corner) A Date With Elvis (Mono) (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    A Date With Elvis (Mono) (Speakers Corner)

    Good products are worth their weight in gold when times are a little harsh - and this album was certainly a genially placed stopgap. In 1959, at the time when RCA launched this record on the market, the label's shining rock star was out of the country doing his military service in good old Germany. In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly uniformed Elvis on the cover, smiling widely to let his faithful followers know that he'd be back soon. There was a special calendar too, so that his fans could count off the days until his return. This marketing ploy was extremely successful. The record became a highly desirable collector's item and even years later illegal dollars still flowed from pirate copies.
    The RCA producers kept mum about when and where the tracks were recorded. But who cares about that when listening to Elvis giving the 'blue grass' classic Blue Moon Of Kentucky his unmistakable, rockabilly sound? The other titles, all of them performed by a well-proven ensemble of rock-'n'-roll musicians, are filled with the honest, powerful language of the young - or from today's viewpoint, old - Elvis. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-'n'-roll than with this early album by its 'King'?





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Scotty Moore (guitar)

    • Bill Black (bass)

    • D.J. Fontana (drums)

    • The Jordanaires (vocal)




    Recording: July 1954 at Memphis Recording Service, Memphis, Tennessee (USA), and other venues till 1957

    Production: Sam Phillips




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Blue Moon of Kentucky Monroe 2:05
    2. Young and Beautiful Schroeder, Silver 2:07
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Blues Arnold 2:38
    5. Baby Let's Play House Gunter 2:18
    6. Good Rockin' Tonight Brown 2:12
    7. Is It So Strange Young 2:32
    8. We're Gonna Move Matson, Presley 2:31
    9. I Want to Be Free Leiber, Stoller 2:16
    10. I Forgot to Remember to Forget 2:27
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • From Elvis in Memphis (Speakers Corner) From Elvis in Memphis (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    From Elvis in Memphis (Speakers Corner)

    Ranked 190/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    A record by Elvis, produced in Tennessee. What's so special about that? Surely everyone knows that the lorry driver from the Southern State sobbed his early songs into the local radio microphones. But Elvis in Memphis is far more than just one of around 40 albums which the King of Rock' n' Roll produced during the course of 35 years. »This marks what is probably the most impressive comeback in the entire history of pop music«, enthused the normally reticent New York Times.



    What had happened? In 1969, after a 14-year meteoric career in show business and movies, and an exemplary PR campaign, Elvis returned to his hometown to record these songs which, in their style, are reminiscent of those recorded in the Fifties for Sun Records. Alongside the lavishly mixed pop and blues numbers (Power Of My Love) and country sound (I'm Movin' On), there is also one of the greatest chart-busters and heart-breakers of a whole generation: In The Ghetto.



    There is certainly no room for discussion about the value of this collectors' item - the astronomical price for a good secondhand copy speaks for itself!



    Musicians:



    • Elvis Presley (vocal, guitar, piano)

    • Ronnie Milsap (piano)

    • Bobby Emmons (organ)

    • Reggie Young (guitar, electric-guitar)

    • Tommy Cogbill, Mike Leech (bass)

    • Gene Chrisman (drums)

    • The Memphis Horns and background vocals




    Recording: 1969 by Al Pachucki

    Production: Felton Jarvis and Chips Moman





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.




    This title is not eligible for discount.

    1. Wearin' that Loved Look
    2. Only the Strong Survive
    3. I'll Hold You in My Heart
    4. Long Black Limousine
    5. It Keeps Right On A-Hurtin'
    6. I'm Movin On
    7. Power of My Love
    8. Gentle on My Mind
    9. After Loving You
    10. True Love Travels on a Gravel Road
    11. Any Day Now
    12. In the Ghetto
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet is Back (Speakers Corner) Chet is Back (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Chet is Back (Speakers Corner)

    Forty-two years ago, Chet Baker - one of the most tragic figures of jazz who lived on the fast lane and ruined himself with drugs and alcohol - was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA's Italian subsidiary brought the musicians into the studio in January 1962.



    With one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads These Foolish Things and the only new composition Ballata In Forma Di Blues are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker's and Bobby Jaspar's high standard of musicianship. And then there is Over The Rainbow, whose theme is coupled with another tragic figure of music history, Judy Garland: Chet on his trumpet conjures up pure magic in the middle section.



    Happily, these recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover - just as it was on the original recording: a priceless gem!




    Musicians:



    • Chet Baker (trumpet)

    • Bobby Jaspar (tenor saxophone, flute)

    • Amadeo Tommasi (piano)

    • RenÉ Thomas (guitar)

    • Benoit Quersin (bass)

    • Daniel Humair (drums)




    Recording: January 1962 in Rome, Italy




    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Well, You Neednt
    2. These Foolish Things
    3. Barbados
    4. Star Eyes
    5. Over The Rainbow
    6. Pent Up House
    7. Ballata In Forma Di Blues
    8. Blues In The Closet
    Chet Baker
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Elvis Presley: Gold Records Vol. 4 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Elvis Presley: Gold Records Vol. 4 (Speakers Corner)

    At first sight, it does not look as though Elvis's 31st album was destined to be a hit. But if you take a look at his artistic biography in the year of its release - 1968 - then you will recognise the clever gimmicks that his wide-awake management employed to captivate rock 'n' roll fans when Elvis was somewhat 'stiff in the hips'. In this fourth Gold Edition, a tried and tested method was used to create a new LP: namely, a compilation of single hits from the years 1961 to 1967. The result was just what fans wanted! Alongside sentimental songs such as Love Letters, the tearjerker Lonely Man and the sobbing, heartstring tugging ballad It Hurts Me, we find spirited rock 'n' roll (Witchcraft, Ain't That Loving You Baby) and honky-tonk blues (A Mess Of Blues) in a toned-down 12-beat measure. In contrast, Don't Drag That String Around is cheerful, light and springy and, - for a change - not a blues number.
    Then we have the country song Devil In Disguise with its angry lyrics, and the soul title What'd I Say by Ray Charles with an electric sound that is lent by the Rhodes piano. All in all, this LP is a great collection from the grand old days of rock 'n' roll.



    Musicians:



    • Elvis Presley (guitar, vocal)

    • The Jordanaires (vocal)

    • and various bands




    Recordings: Juyl 1960 - June 1966 at RCA Studio B in Nashville, Tennessee, RCA Studios and Radio Recorders in Hollywood

    Production: Steve Sholes, Chet Atkins, George Stoll, Felton Jarvis, a.o.


    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Love Letters
    2. Witchcraft
    3. It Hurts Me
    4. What'd I Say
    5. Please Don't Drag That String Around
    6. Indescribably Blue
    7. You're The Devil In Disguise
    8. Lonely Man
    9. A Mess Of Blues
    10. Ask Me
    11. Ain't That Loving You Baby
    12. Just Tell Her Jim Said Hello
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl - Sealed Buy Now
  • Is That All There Is? (Pure Pleasure) Is That All There Is? (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Is That All There Is? (Pure Pleasure)

    When Peggy Lee became well-known in the 1940s, swing and jazz-influenced pop dominated the musical landscape. In the 1960s, however, it was a whole new world in popular music. The British Invasion and Motown - not big bands - were mainstream, and to the Baby Boomer youths of the 1960s, Lee was part of 'our parents' music'. But the singer had a major hit with 1969's Is That All There Is?, one of the best-selling albums of her career. While this isn't a rock album per se - Lee's foundation was still jazz-influenced pop - it acknowledges pop-rock tastes of the 1960s without being unfaithful to her history. Everything on this LP is a gem, and that includes a moody remake of Lee's 1940s hit Don't Smoke in Bed as well as classic arrangements of George Harrison's Something, Neil Diamond's Brother Love's Traveling Salvation Show, Leiber & Stoller's I'm a Woman, and Randy Newman's Love Story. The LP's centerpiece, however, is Newman's hit arrangement of Leiber & Stoller's title song, which was covered by P.J. Harvey in the 1990s. Influenced by German cabaret, this half-spoken, half-sung treasure is as hauntingly soulful as it is maudlin. The song's outlook is far from optimistic; essentially, it's saying that we might as well grab our moments of pleasure and enjoyment where we can find them because ultimately, life is nothing more than a meaningless series of disappointments. But there's nothing disappointing about Is That All There Is?, an LP that is most certainly among Lee's finest accomplishments.



    Musicians:



    • Peggy Lee (vocal), and orchestra





    Recording: November 1962, January / February / April / October 1969 at Capitol Tower, Hollywood, CA

    Production: Lieber & Stoller / Phil Wright / David Cavanaugh




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.




    This title is not eligible for discount.

    1. Is That All There Is?
    2. Love Story
    3. Me and My Shadow
    4. My Old Flame
    5. I'm a Woman
    6. Brother Love's Travelling Salvation Show

    7. Something
    8. Whistle for Happiness

    9. Johnny (Linda)
    10. Don't Smoke in Bed
    Peggy Lee
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Peace... Back By Popular Demand (Pure Pleasure) Peace... Back By Popular Demand (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Peace... Back By Popular Demand (Pure Pleasure)

    Peace ... Back By Popular Demand finds Keb' Mo' covering nine classic protest and peace songs from the 1960s and early '70s, and what is immediately apparent is how well these songs translate forward into the current political milieu. This is an album where the songs themselves are the stars, and Keb' Mo' wisely takes a low-key and measured vocal approach to each of them, letting the messages take hold over light soul-jazz backings, with just enough funk in the horn charts to give the arrangements some push. It's hard to argue with the song selection, but as an interpreter, Mo' seldom makes any of these tracks his own, and behind each stands the ghostly but clear memory of the original version. Obviously Mo' isn't trying to top the Hit Parade with anything here, and his effort to bring these important songs into a new light is laudable. Peace ... Back By Popular Demand is not a major album, but it does have some major things to say, or re-say, in this case, and it serves as a reminder that every era could use (and deserves) some peace.





    Musicians:



    • Keb' Mo' (guitar, bass, mandolin, vocal, dobro)

    • Mindi Abair (alto saxophone, soprano saxophone)

    • Nick Lane (trombone)

    • Jeff Paris (keyboards, mandolin, piano, organ)

    • James Harrah (guitar)

    • Mark Cargill (violin, director)

    • Reggie McBride (bass)

    • Paulinho Da Costa (percussion)

    • Stephen Ferrone (drums)



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.




    This title is not eligible for discount.

    1. For What It's Worth
    2. Wake Up Everybody
    3. People Got To Be Free
    4. Talk

    5. What's Happening Brother
    6. The Times They Are a Changin'
    7. Get Together
    8. Someday We'll All Be Free
    9. What's So Funny 'Bout Peace, Love
    10. Imagine
    Keb' Mo'
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Going Back To Acoustic (Pure Pleasure) Going Back To Acoustic (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Going Back To Acoustic (Pure Pleasure)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Lowdown Back Porch Blues (Pure Pleasure) The Lowdown Back Porch Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Lowdown Back Porch Blues (Pure Pleasure)

    Louisiana Red (born Iverson Minter) was a flamboyant guitarist, harmonica player, and vocalist. He lost his parents early in life through multiple tragedies; his mother died of pneumonia a week after his birth, and his father was lynched by the Klu Klux Klan when he was five.


    Red began recording for Chess in 1949, then joined the Army. After his discharge, he played with John Lee Hooker in Detroit for almost two years in the late '50s, and continued through the '60s and '70s with recording sessions for a number of labels. Louisiana Red moved to Hanover, Germany in 1981, and maintained a busy recording and performing schedule through the subsequent decades into the new millennium. He died in Germany in 2012 when his thyroid imbalance brought on a stroke.


    Recorded in New York with Tommy Tucker, Lowdown Back Porch Blues is Louisiana Red's first album and, in many ways, it's his best. Supported by a bare-bones rhythm section, Red plays a number or traditional tunes and originals. His guitar is nearly as powerful and overwhelming as his vocals, making this a truly compelling listen.

    Musicians:



    • Louisiana Red (vocal, guitar, harpsichord)

    • Karl Lynch (bass)

    • Panama Francis (drums)




    Recording: 1963 in New York City

    Production: Henry Glover



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Red's Dream
    2. Working Man Blues
    3. I'm Louisiana Red
    4. Sweet Aleese
    5. Keep Your Hands Off My Woman
    6. I'm A Roaming Stranger
    7. Ride On Red, Ride On
    8. I Wonder Who
    9. The Seventh Son
    10. Sad News
    11. Two Fifty Three
    12. Don't Cry
    Louisiana Red
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • So It Is So It Is Quick View

    $19.99
    Buy Now
    x

    So It Is

    Preservation Hall Jazz Band have announced the release of their new album, So It Is, the septet's second release featuring all-new original music, releasing via Legacy Recordings. So It Is finds the classic PHJB sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba.


    In Cuba, all of a sudden we were face to face with our musical counterparts, says bandleader/composer/bassist Ben Jaffe. There's been a connection between Cuba and New Orleans since day one - we're family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it's part of something much bigger. It was almost like having a religious epiphany.


    Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Upon arriving in New Orleans to meet with the band, Sitek recalls he and Jaffe accidentally stumbling into one of the city's famed second-line parades. I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediate, he says. I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.


    The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory. Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city's Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.


    Preservation Hall Jazz Band:


    BEN JAFFE - Bass (upright), Tuba, Percussion

    CHARLIE GABRIEL - Saxophone (tenor), Clarinet

    CLINT MAEDGEN - Saxophone (tenor), Percussion

    RONELL JOHNSON - Trombone

    WALTER HARRIS - Drums, Percussion

    KYLE ROUSSEL - Piano, Wurlitzer, Organ

    BRANDEN LEWIS - Trumpet

    1. So It Is
    2. Santiago
    3. Innocence
    4. La Malanga
    5. Convergence
    6. One Hundred Fires
    7. Mad
    Preservation Hall Jazz Band
    $19.99
    Vinyl LP - Sealed Buy Now
  • Tomorrow Is My Turn Tomorrow Is My Turn Quick View

    $22.99
    Buy Now
    x

    Tomorrow Is My Turn

    Rhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.


    Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City's Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis." Backstage, Burnett was immediately moved to ask if he could produce a record with her. "It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe," Burnett says. "We need that person in our culture."


    For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional "Black Is the Color," tracks include Hank Cochran's "She's Got You," made famous by Patsy Cline; Dolly Parton's "Don't Let It Trouble Your Mind"; "O Love Is Teasin'," popularized by the Kentucky-reared "mother of folk" Jean Ritchie; and Elizabeth Cotton's "Shake Sugaree."


    "I had already started putting together a list of songs that didn't really fit into the Chocolate Drops world," Giddens explains. "At the top was 'Tomorrow Is My Turn' [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she'd gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words 'tomorrow is my turn,' I began to think about the struggle of her and women like her." The significance of this song led Giddens to make it the title of the album as well. "Other songs started getting on my list and they were all by women or interpreted by women," she says.


    Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown's renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens' Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.


    Tomorrow Is My Turn follows Giddens' work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the "showstopper evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink." The New York Times agreed, saying "On lead vocals she's the album's revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace."

    1. Last Kind Words
    2. Don't Let It Trouble Your Mind
    3. Waterboy
    4. She's Got You
    5. Up Above My Head
    6. Tomorrow is My Turn
    7. Black Is the Color
    8. Round About the Mountain
    9. Shake Sugaree
    10. O Love Is Teasin'
    11. Angel City
    Rhiannon Giddens
    $22.99
    Vinyl + CD - Sealed Buy Now
  • Get Back Home In The USA (Pure Pleasure) Get Back Home In The USA (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Get Back Home In The USA (Pure Pleasure)

    Recorded when Hooker was well into his '60s 'comeback', Get Back Home features the bluesman in a solo performance (a mode that best reveals the subtleties of his work). The session was recorded in France, and Hooker must have been feeling a bit homesick, as the first song is Get Back Home In The USA, where he describes in detail, over his trademark boogie rhythm, his return to his homeland and the joy he knows he will feel. After this momentary ray of sunshine, though, things soon return to more familiar climes, with the bleakness of the slow blues T.B. Is Killing Me and the unbridled despair of When My First Wife Left Me. Hooker recorded this tune many times over the years, but this is one of the finest versions, plumbing the depths of shame and regret. Hooker's raw, biting guitar work is at its best here. Even the umpteenth recording of the Hooker chestnut Boogie Chillen is invested with uncommon verve. With the addition of six powerful bonus cuts, Get Back Home is both an excellent introduction into the sultry, menacing world of Hooker and a vital addition to the collections of his hardcore fans.



    Musicians:



    • John Lee Hooker (vocal, guitar)



    Format: 2LPs 33rpm



    Recording: November 1969 at Monestier-Lemay Studio, Pau, France

    Production: Jacques Morgantini




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Get Back Home In The USA
    2. TB Is Killing Me
    3. Cold Chills
    4. I Had A Dream Last Night

    5. Love Affair
    6. Little Rain
    7. When My First Wife Left Me
    8. Big Boss Lady
    9. Back To Your Mother
    10. Boogie Chillen
    11. Sitting Here Thinking
    12. I Wanna Ramble
    13. Hi-Heel Sneakers
    14. Im So Worried Baby
    15. Im Going Upstairs
    16. Crazy Bout You
    John Lee Hooker
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • This Is Chris (Pure Pleasure) This Is Chris (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    This Is Chris (Pure Pleasure)

    During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This LP has her final recordings for the label (before moving to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include The Thrill Is Gone, Blame It On My Youth, and I Concentrate On You, but all ten numbers are rewarding.



    Musicians:



    • Chris Connor (vocal)

    • J. J. Johnson, Kai Winding (trombone)

    • Herbie Mann (flute, tenor saxophone)

    • Joe Puma (guitar)

    • Ralph Sharon (piano)

    • Milt Hinton (bass)

    • Osie Johnson (drums)




    Recording: April 1955 in New York City by Tom Dowd

    Production: Creed Taylor




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Blame It On My Youth
    2. It's All Right With Me
    3. Someone To Watch Over Me
    4. Trouble Is A Man
    5. All This And Heaven Too
    6. The Thrill Is Gone
    7. I Concentrate On You
    8. All Dressed Up With A Broken Heart
    9. From This Moment On
    10. Ridin' High
    Chris Connor
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Where Is Love (Pure Pleasure) Where Is Love (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Where Is Love (Pure Pleasure)

    This classic set, originally cut for the Choice label, presents a program of ballads exquisitely interpreted by singer Irene Kral and pianist Alan Broadbent. The tempos are all quite slow, but the emotional yet cool intensity given by Kral and Broadbent means that there are no slow moments. Among the songs given definitive and memorable treatment are Blossom Dearie's I Like You, You're Nice and Bob Dorough's Love Came on Stealthy Fingers, Never Let Me Go, and especially Spring Can Really Hang You up the Most. This is a haunting program, Irene Kral's best; it sticks in one's memory long afterwards and can be considered one of the finest sets of ballads ever recorded. Essential music.



    Musicians:



    • Irene Kral (vocal)

    • Alan Broadbent (piano)



    Recording: December 1974 at Wally Heider Studios by Gabby Garcia

    Production: Joe Burnett




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.




    This title is not eligible for discount.

    1. I Like You, You're Nice
    2. When I Look In Your Eyes
    3. A Time For Love / Small World
    4. Love Came On Stealthy Fingers
    5. Never Let Me Go
    6. Spring Can Really Hang You Up The Most
    7. Lucky To Be Me / Some Other Time
    8. Where Is Love?
    9. Don't Look Back
    Irene Kral
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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